诺斯替主义审美性研究

发布时间：2017-12-26 23:01

  本文关键词：诺斯替主义审美性研究　出处：《山东大学》2017年博士论文　论文类型：学位论文

  更多相关文章： 诺斯替主义 灵知 审美性 复神话化 摩尼教

【摘要】：诺斯替主义是古罗马帝国时期兴起的一场宗教运动,以二元论的反宇宙主义为基本思想原则。公元4世纪前后,受到占据主流的基督教镇压而逐渐消亡,但是诺斯替主义研究一直是西方思想界的重要议题。随着新纪元运动的兴起,现代诺斯替主义在各种思想文化领域涌现,文学艺术中诺斯替主义的影响也日益彰显。本文以现存的诺斯替主义原始文献为依据,以核心范畴"灵知"为切入点,力图澄清诺斯替主义中的审美性,把握其内涵和表现。诺斯替主义审美性主要是指诺斯替主义作为一种宗教思想和灵性信仰,其本身蕴含着独特的审美观念与特性。诺斯替主义审美性研究,一方面需要从共时性的视角呈现其审美观及审美架构,另一方面则要从历时性的视野揭示诺斯替主义审美选择的原因和影响。"灵知"(Gnosis)是诺斯替主义核心范畴,被认为是灵魂从世界-牢笼获得拯救的关键,也是其审美观念的集中体现。诺斯替主义扩展了灵知的含义,即将灵知从认识层面扩展到精神活动和实践领域,使灵知不仅局限为一种知识类型,更成为一种灵修途径。灵知具有直觉性、体验性和净化作用等特点,就其对超越性存在和人类灵魂本质的直觉把握来说,属于直觉的知识,是与审美同属一种类型。灵知体验性与审美体验性具有一致的精神状态,具体表现在主客融合统一、对日常经验的中断。灵知本身具有的净化与拯救作用实质上是通过审美功能实现的。灵知与审美共享一个超越领域,即超越日常经验现实,进入更加真实的领域,不能以理智把握,只能通过直觉和审美的方式达到。二者同时也具有指向性的差异。审美的超越性是对周围现实的超越,但最终仍然是回归这个世界,关怀当下生存,是一种回环的超越路线。灵知的超越性路径是射线的,由这个世界出发而远离此世,最终并无回归这个世界的目的。二者看似存在指向上的差异性,但实质上却又是相通的。灵知超越世界的过程,是一条否定之中暗含肯定、通过反转重建人本价值的曲折道路,这与审美回环的路径恰恰是内在一致的。在灵知观念的基础上,诺斯替主义具有独特的审美观和审美意蕴。诺斯替主义审美观主要集中于对美与神、美与丑的关系的表述。就美和神的关系来说,诺斯替主义肯定美的存在和美的形式,认为美是神的本质属性之一。在美丑关系上,丑是美的对立面,是黑暗领域的属性。与其他宗教和思想流派不同的是,对诺斯替主义而言,美不仅仅是真理的表达手段,而是真理其本身就是审美性的。美自身的本体性地位,是诺斯替主义的根本属性之一。诺斯替主义二元论赋予其审美意蕴以对抗性特征,即运用具有强烈对比色彩的语言、范畴呈现超越性与堕落性的对抗、灵魂神性与肉体物质性的对抗。这种对抗性审美意蕴主要体现在象征意象的运用、宇宙历史的戏剧化以及对基督教《圣经》的反转化叙事策略。诺斯替主义构造出独特的象征意象系统:"异乡"象征的是人对这个世界的根本生命体验;牢笼和客旅表达了对这个世界的认识;呼应象征拯救与被拯救相互回应;袍衣的剥落和灵魂向上飞升是拯救过程的象征;珍珠和绿宝石象征了纯洁而珍贵的神性灵魂。这些象征意象传达了人在这个世界的根本生存体验,即与这个物质世界的疏离和对抗。诺斯替主义以戏剧化方式来进行神圣叙事。主要表现在:神话结构的戏剧化;善恶冲突的戏剧性;宇宙作为戏剧情境。基督教也有其神圣戏剧,但是二者有根本性不同。基督教的神圣戏剧是以人类为中心的视野,宇宙的发生和存在发展的历史意义就在于人类的拯救。诺斯替主义宇宙戏剧所关注的焦点是神的戏剧,是以神为戏剧的主人公和中心来开展,这个世界或者这个宇宙的产生和发展以致最后的灭亡都只是神的戏剧的一部分而非主角。这种戏剧观反映出诺斯替主义对人类在宇宙中的地位和价值以及对理性秩序作为幸福生活之保证的怀疑。诺斯替主义在其神话叙事中对《圣经》进行有意误读和反转化叙事。诺斯替主义反宇宙主义体现为将整个宇宙的性质从基督教的宇宙为上帝所创造并看为善,反转为这个宇宙的邪恶性。基督教中造物主至真至善,反转为诺斯替主义中这个世界的创造者为邪恶的掌权者;基督教中耶稣是造物主之子,反转为光明世界真正上帝之子、来到这个世界拯救世人脱离造物主的魔掌;伊甸园神话中的诸角色(夏娃、蛇),反转为唤醒亚当灵性火花的光明使者;对《圣经》中的一些叙事进行反转化,例如耶稣子女问题和耶稣对抹大拉的玛利亚态度等。这种反转化策略实质上表达了对主流基督教所构建的主流价值体系的嘲讽和反抗。在真理-拯救问题上,诺斯替主义走向了与古希腊哲学和基督教神学的思辨化道路不同的路径,即审美路径。这种审美路径的核心特征是复神话化。复神话化是诺斯替主义的整体思维方式,通过复活神话思维方式以表达和阐释自己的教义和精神原则。这种复神话化思维方式实质上是一种审美思维,即以充满激情的想象塑造丰富的形象,以叙事而非逻各斯的形式传达思想观念。诺斯替主义复神话化的审美路径,一方面是诺斯替主义自身宗教拯救内容的需要,另一方面是当时面对古罗马帝国社会问题以及面对基督教压力做出的对抗性选择。诺斯替主义选择以神话对抗哲学,以审美对抗理性思辨,从根本上说,是反抗逻各斯中心主义的古典精神。诺斯替主义者们认为灵性是人本质中潜在具有的一种超越自然秩序、同时超越造物主智慧及控制的精神能力。其以灵性超越反现行秩序,以东方感性直觉对抗古希腊理性思辨,企图以审美攻破古希腊罗马时期日益僵化的理性思辨的遮蔽,重建富有活力和想象力的感性思想乐园。虽然最终被主流基督教压制,但是其精神仍然存在于西方思想中,在理性僵化的时代适时出现,以重整时代精神。摩尼教是诺斯替主义的宗教流派之一,创立于波斯,东传至中国。摩尼教在其本土和西方被判为异端宗教遭受重重压迫终致消亡,前后仅存在了两百年。但是它在中国却能延续达近千年。从审美层面分析,对中国文化的适应性调整和与中国审美思维同构互补是摩尼教能够在华长时间存续的根本原因。摩尼重视经书的艺术性,强调经书撰写的美观和插图的精美;重视绘画在布道过程中的作用;宗教仪式中也充满着艺术气息。摩尼教吸取大量中国佛教艺术的造型、技法与象征,熔铸出一种既适于表达本教核心教义又能为中国受众所理解的艺术语言。摩尼教"分——合——分"的宇宙动态模式,与中国传统思想中阴阳两仪的演化模式有相通之处。摩尼教汉文经籍借用阴阳推移的范畴来描述宇宙生成的戏剧化过程。就对美的最高追求而言,宇宙戏剧的开端和结局,都是光明和黑暗在各自领域内自在自存的状态,是中国化摩尼教所追求的美的最高境界,也为"中和"之美提供了另一种表现形态。这种中和审美范型的一致,是摩尼教得以在华传播的内在原因,也是摩尼教艺术能够在华蓬勃发展的重要因素。现代社会现实和文化思潮再次激起了诺斯替主义的回潮,其神话原型、精神意象渗入到文学艺术中。现代诺斯替主义实质是以审美对抗工业革命后的科学理性。现代诺斯替主义呈现出与古代诺斯替主义不同的特点,弱化其宗教性和极端禁欲主义,突出其审美性和精神修行的方面。这种转变既是对现代社会文化的一种适应,也是诺斯替主义自身嬗变的结果。总之,诺斯替主义以灵知为核心,以神话为表现形式,结合诗歌语言和独特的戏剧叙事,呈现出与古典及基督教审美不同的特点。这种审美选择和构建影响到后世诸多文化思潮,构成西方文化发展的一条暗线,并在不同的时代涌现。诺斯替主义并不仅仅是一种宗教流派或者思潮,而是一种历久恒在的审美文化范式,与逻各斯中心主义共同界定着人类对于世界和自身的感知与理解。
[Abstract]:Gnostivism is a religious movement rising in the ancient Rome Empire, with the basic ideological principle of the dualism of anti cosmism. Before and after the fourth Century ad, it was gradually disappearing from the dominant Christian crackdown, but the study of Gnostic has been an important issue in the western ideological circle. With the rise of the new age movement, modern Gnosticism in the ideological and cultural fields emerged, Gnosticism's literary and artistic effect of CHINO also becomes more and more obvious. Based on the existing Gnostic literature as the basis, the core category of "gnosis" as the breakthrough point, tries to clarify the Gnostic aesthetic doctrine, grasp its connotation and performance. The aestheticism of Gnosticism mainly refers to Gnosticism as a religious thought and spiritual belief, which itself contains unique aesthetic concepts and characteristics. On the one hand, we need to present its aesthetic and aesthetic structure from a synchronic perspective. On the other hand, we need to reveal the causes and effects of Gnosticism's aesthetic choice from a diachronic perspective. "Gnosis" (Gnosis) is the core category of Marxism for the north, is considered to be the key to save the soul from the world - cage, but also embodies the aesthetic concept. Gnosticism expands the Gnostic meaning, will be extended from cognition to spiritual gnosis activities and practice, not only for the gnosis of a type of knowledge, become a kind of spiritual path. It is intuitive, the experience and the purification effect and other characteristics, is its transcendent existence and essence of the human soul intuition, belonging to intuition and aesthetic, is belong to the same type. Gnosis experience and aesthetic experience has the same mental state, specifically in the subjective and objective unity, fusion disruption to the daily experience. Purification and salvation effect is achieved through the gnosis itself has the aesthetic function. Gnosis and aesthetic shared a transcendental field, i.e. beyond everyday experience into reality, more real, unable to grasp the reason, only through intuition and aesthetic way to achieve. The two also have the differences of directivity. The transcendence of aesthetics is the transcendence of the surrounding reality, but ultimately it is still a return to the world, and caring for the present existence is a way of transcending the ring. Gnostic transcendence path is ray, starting from this world away from this world, there is no end to return to this world. The two seem to have the difference in pointing, but in essence they are interlinked. Gnosis beyond the world, is a denial implied affirmation, winding path through the reverse reconstruction of the value of the human, which path and aesthetic circle is consistent. Based on the concept of Gnosis, Gnosticism has unique aesthetic and aesthetic implication. The aesthetic view of Gnostic is mainly focused on the expression of the relationship between beauty and God, beauty and ugliness. As far as the relationship between beauty and God is concerned, gnosism affirms the existence and beauty of beauty, and thinks that beauty is one of the essential attributes of God. In the relationship between beauty and ugliness, ugliness is the antithesis of beauty, is the dark field attribute. Unlike other religious and ideological genres, the beauty of Gnosticism is not only a means of expression of truth, but the truth of its own aesthetic nature. The noumenon status of beauty itself is one of the fundamental attributes of gnosism. Gnostic dualism endows its aesthetic implication with antagonistic characteristics, namely, the use of strong contrasting languages and categories, the confrontation between transcendence and degradation, and the confrontation between the spirit of the soul and the corporality of the body. This aesthetic implication is mainly embodied in the use of symbolic imagery, the drama of the history of the universe and the counter conversion of the Bible to the Christian Bible. Gnosticism construct symbolic imagery unique system: "otherland" is the symbol of all life experience of the world; the cage and the traveler expressed understanding of the world; a symbol of salvation mutual echo response; robes peel and soul to ascend is a symbol of salvation; and Pearl emerald symbol of pure and precious soul. These symbolic images convey the fundamental living experience of human beings in the world, that is, the alienation and confrontation with the material world. Gnostiism carried out the sacred narrative in a dramatic manner. It is mainly manifested in the dramatic drama of mythological structure, the dramatic drama of the conflict of good and evil, and the universe as a dramatic situation. Christianity also has its sacred plays, but the two are fundamentally different. The holy drama of Christianity is a vision of human centered. The historical significance of the occurrence and development of the universe lies in the salvation of mankind. The focus of Gnosticism cosmic drama is about God's drama, is God drama the hero and the center to carry out, in this world or the emergence and development of the universe that the final death are just a part of God's drama rather than the protagonist. This view of drama reflects the suspicion of Gnosticism on the status and value of human beings in the universe and the guarantee of a rational order as a happy life. In his mythological narrative, Gnostic misread and reverse the narrative of the Bible. Gnostic anti cosmism manifests itself as the creation of the whole universe from the Christian universe to God, and it turns into goodness, reversing the evil nature of the universe. The Christian creator Treant, inversion for the world Gnostic creator in evil rulers; Christian Jesus is the creator son inversion is the son of God, the real world of light came into the world to save the world from the clutches of the creator; the role of Eden Mythology (Xia Wa, snake), inversion to awaken Adam Lightbringer spiritual sparks; reverse transformation of the "Bible" in the narrative, such as Jesus
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：B83-0
，

本文编号：1339191